Đejmi Hadrović, in her artistic practice, addresses feminist themes within the specific postYugoslav space and time; it also refers to (semi)past history. Through video, photography, and performance, she insightfully and consistently tackles issues of gender, the multifaceted nature of identity, migration, and discrimination on the basis of religion and ethnic origin, and sharply presents a complex critique of society. The work gives special emphasis to the invisibility and absence of women in the dominant discourse. The female perspective and historical memory have no place here; they reside in the oral tradition and the experienced consequences of the war somewhere on the margins, in a threatening absence, under a veil of secrecy.

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